Interview with Lawrence Mirisch

This Is a Business Built on Relationships

An Interview with Agent Lawrence A. Mirisch

by Linda Dove

Some of our editors are represented by agents. The Editors Guild works hard to protect and improve the foundations of our pay and conditions. Agents are busy pushing up the ceiling. One agent, who worked as an assistant editor at one time,is Lawrence A. Mirisch of The Mirisch Agency which has a number of editors as clients. He has some interesting insights into developing an editor's career.

SECTIONS:

An Agent's Primary Function is to Help Create Relationships
Negotiating
Technology & Editing

An Agent's Primary Function is to Help Create Relationships

"This is a business built on relationships. Relationships translate into projects and it's my belief that an agent's primary function is to help create those relationships which, in turn, will produce good work and more feature films and television projects - which help build a career."

Larry finds one of the most challenging aspects of being an agent is helping shape people's careers: "How do you help someone who's been editing soft comedies work on more dramatic features? Or someone who's been editing drama pictures to get an action picture? There are wonderful pictures being made in all genres and I believe it's best for an editor to work in as many of those genres as he or she can.

"I believe everyone in the industry needs an agent. Those who are not represented are only exposed to whatever material comes directly to them. But there's nobody out there talking about them. We are always talking about our clients. And people who are not represented are not exposed to new producers and directors.

"Feedback is something we all need in every part of our lives. We give our clients feedback - while they're working on a project, and at its completion, but particularly during the interview process. We like to find out how the interview went, and suggest how our clients can be more effective during an interview. And that's something that's germane to everybody.

Negotiating

"The other issue is obviously negotiating. Film editors have to work with producers, directors, and production- and post-production supervisors. I don't think it's in the editor's best interest to deal head-on with the people with whom he or she has to work creatively. Due to the relationships that we have, we can make good deals for our clients. The studios know us, producers know us, they know the way we operate, and we have a better sense of salaries and what the market will bear. Besides, the relationship of the editor with the director and the producer are most important and should always be protected."

Asked about how much of an editor's job involves diplomatic or political skills, he said, "At least 50 percent. It's partially a job of communication abilities, interacting with a diverse group of personalities while always being in tune with the director's vision. You've got to understand story-telling. You've got to understand structure. And obviously it's knowing the technical side of putting a film together. Dealing with all of those issues -- be it sound, music, effects -- make the film a finished product. But so much of it is dealing with people."

Technology & Editing

Larry talked about directors' and producers' attitudes since editors have started using computerized systems: "I personally find it very alarming when a producer or director will say to me they want to work with someone who works digitally, or they want someone who will work on a certain system. Editing is not about equipment, it's about who's using it. It gets back to the director's vision and the editor's vision, and their understanding and being in sync about what the final product will be.

"I think that one of the greatest assets an editor can bring to a project is passion. The individual should be dedicated and devoted to solving the problems that come up every day. That's what's exciting to me - working with people who are passionate. You've always got to have that fire. And that goes for all of us"

Reprinted from
The Motion Picture Editors Guild Newsletter
Vol. 16, No. 2 - March/April 1995

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Copyright © 1996, All Rights Reserved by The Motion Picture Editors Guild, IATSE Local 776


	This Is a Business Built on Relationships An Interview with Agent Lawrence A. Mirisch by Linda Dove Some of our editors are represented by agents. The Editors Guild works hard to protect and improve the foundations of our pay and conditions. Agents are busy pushing up the ceiling. One agent, who worked as an assistant editor at one time,is *Lawrence A. Mirisch* of The Mirisch Agency which has a number of editors as clients. He has some interesting insights into developing an editor's career. *SECTIONS:* An Agent's Primary Function is to Help Create Relationships Negotiating Technology & Editing
	An Agent's Primary Function is to Help Create Relationships	"This is a business built on relationships. Relationships translate into projects and it's my belief that an agent's primary function is to help create those relationships which, in turn, will produce good work and more feature films and television projects - which help build a career." Larry finds one of the most challenging aspects of being an agent is helping shape people's careers: "How do you help someone who's been editing soft comedies work on more dramatic features? Or someone who's been editing drama pictures to get an action picture? There are wonderful pictures being made in all genres and I believe it's best for an editor to work in as many of those genres as he or she can. "I believe everyone in the industry needs an agent. Those who are not represented are only exposed to whatever material comes directly to them. But there's nobody out there talking about them. We are always talking about our clients. And people who are not represented are not exposed to new producers and directors. "Feedback is something we all need in every part of our lives. We give our clients feedback - while they're working on a project, and at its completion, but particularly during the interview process. We like to find out how the interview went, and suggest how our clients can be more effective during an interview. And that's something that's germane to everybody.
	Negotiating	"The other issue is obviously negotiating. Film editors have to work with producers, directors, and production- and post-production supervisors. I don't think it's in the editor's best interest to deal head-on with the people with whom he or she has to work creatively. Due to the relationships that we have, we can make good deals for our clients. The studios know us, producers know us, they know the way we operate, and we have a better sense of salaries and what the market will bear. Besides, the relationship of the editor with the director and the producer are most important and should always be protected." Asked about how much of an editor's job involves diplomatic or political skills, he said, "At least 50 percent. It's partially a job of communication abilities, interacting with a diverse group of personalities while always being in tune with the director's vision. You've got to understand story-telling. You've got to understand structure. And obviously it's knowing the technical side of putting a film together. Dealing with all of those issues -- be it sound, music, effects -- make the film a finished product. But so much of it is dealing with people."
	Technology & Editing	Larry talked about directors' and producers' attitudes since editors have started using computerized systems: "I personally find it very alarming when a producer or director will say to me they want to work with someone who works digitally, or they want someone who will work on a certain system. Editing is not about equipment, it's about who's using it. It gets back to the director's vision and the editor's vision, and their understanding and being in sync about what the final product will be. "I think that one of the greatest assets an editor can bring to a project is passion. The individual should be dedicated and devoted to solving the problems that come up every day. That's what's exciting to me - working with people who are passionate. You've always got to have that fire. And that goes for all of us"
	Reprinted from The Motion Picture Editors Guild Newsletter Vol. 16, No. 2 - March/April 1995 Guild Home \| Newsletter Home \| Top of Page Copyright © 1996, All Rights Reserved by The Motion Picture Editors Guild, IATSE Local 776